Manager remembers Chapin, the composer and the man

The bluegrass band of “Cotton Patch Gospel.”

PHOTO PROVIDED

By JASON GILMERTimes-News Correspondent

Published: Friday, April 26, 2013 at 4:30 a.m.

Last Modified: Thursday, April 25, 2013 at 1:07 p.m.

Bob Hinkle sat in a New York City cafe, across from the Lambs Theatre, with friends and waited for the typically unfriendly critics to release reviews of Harry Chapin's newest project, "Cotton Patch Gospel."

This night of waiting occurred four months after Chapin's much-too-early death on July 16, 1981, and Hinkle still remembers the anxious moments sitting with Chapin's brother, Tom, and others.

"I think it's probably the best review Harry ever received from the New York critics because they were usually not Harry's friend," said Hinkle, Chapin's former manager who now lives in Black Mountain and owns the White Horse Black Mountain performance and event center.

Hinkle will make sure he sees the musical at the Flat Rock Playhouse Downtown and will remember his friend Chapin, who is most known for his hits "Cat's in the Cradle," "Taxi" and "WOLD."

Chapin wrote the music and lyrics for the show, which was adapted from Clarence Jones' book and is a retelling of the Gospel using bluegrass music. The story is set in Georgia in the 20th century.

"I've always loved it and thought the mixture of Harry and Clarence Jordan's story was a great mixture," Hinkle said.

Hinkle worked as Chapin's manager for the final five years of his life, overseeing a busy touring schedule and an arduous humanitarian life. Chapin fought to end worldwide hunger and posthumously earned the Congressional Gold Medal.

Chapin was stubborn and one-of-a-kind, Hinkle said.

"He was a powerful character," he said. "Trying to manage Harry was like trying to hold the tail of a tornado. He was almost always ahead of you. You were either cleaning up of him or being told to be ahead of him and you weren't."

Taking on the challenge of writing songs for "Cotton Patch Gospel" wasn't an unusual task for Chapin, who quickly moved from project to project.

"I think it just tickled his fancy, basically. He was all for breaking molds and doing things differently and making sense of the world in a different way," Hinkle said.

"It got his attention right away because he was telling an old story in a new way. He was bringing an old story to a new audience."

It's a story that has been told before and in many incarnations.

This one is different because of the music that tells the story, as Chapin's folk and bluegrass is the story's catalyst.

"The Gospels have been written into pop-style musicals several times. In some cases the songs are perfect for the moments they describe and some songs are real misses," said Chris Blisset, music director for the Playhouse Downtown production. "I'm shocked by the number of times these songs are perfect for what they are trying to accomplish. I'm a pretty critical listener and surprised how often I agree with the choices they made, it's a high statistic."

When Blisset, who plays several roles in the program and plays several instruments, became associated with the story, he downloaded the songs and spent hours walking the streets of New York City listening. It didn't take long for the songs to become memorable.

"I noticed right away how toe-tapping and catchy the music was," he said.

"I could remember choruses for the songs after first listen. That told me that when they were looking for someone to write this music, they got the right guy.

"You can write a good lyric and good melody, but that doesn't make it catchy. These are the kinds of songs you will whistle without knowing it."

The show won't just be a hit with bluegrass fans, Blisset said. The songs move from pop-folk to bluegrass to more standard musical theater fare.

"I think anyone who has enjoyed popular music in the last 50 years is likely to find something they like in this music," Blisset said.

<p>Bob Hinkle sat in a New York City cafe, across from the Lambs Theatre, with friends and waited for the typically unfriendly critics to release reviews of Harry Chapin's newest project, "Cotton Patch Gospel."</p><p>This night of waiting occurred four months after Chapin's much-too-early death on July 16, 1981, and Hinkle still remembers the anxious moments sitting with Chapin's brother, Tom, and others.</p><p>"I think it's probably the best review Harry ever received from the New York critics because they were usually not Harry's friend," said Hinkle, Chapin's former manager who now lives in Black Mountain and owns the White Horse Black Mountain performance and event center.</p><p>Hinkle will make sure he sees the musical at the Flat Rock Playhouse Downtown and will remember his friend Chapin, who is most known for his hits "Cat's in the Cradle," "Taxi" and "WOLD."</p><p>Chapin wrote the music and lyrics for the show, which was adapted from Clarence Jones' book and is a retelling of the Gospel using bluegrass music. The story is set in Georgia in the 20th century.</p><p>"I've always loved it and thought the mixture of Harry and Clarence Jordan's story was a great mixture," Hinkle said.</p><p>Hinkle worked as Chapin's manager for the final five years of his life, overseeing a busy touring schedule and an arduous humanitarian life. Chapin fought to end worldwide hunger and posthumously earned the Congressional Gold Medal.</p><p>Chapin was stubborn and one-of-a-kind, Hinkle said.</p><p>"He was a powerful character," he said. "Trying to manage Harry was like trying to hold the tail of a tornado. He was almost always ahead of you. You were either cleaning up of him or being told to be ahead of him and you weren't."</p><p>Taking on the challenge of writing songs for "Cotton Patch Gospel" wasn't an unusual task for Chapin, who quickly moved from project to project.</p><p>"I think it just tickled his fancy, basically. He was all for breaking molds and doing things differently and making sense of the world in a different way," Hinkle said. </p><p>"It got his attention right away because he was telling an old story in a new way. He was bringing an old story to a new audience."</p><p>It's a story that has been told before and in many incarnations.</p><p>This one is different because of the music that tells the story, as Chapin's folk and bluegrass is the story's catalyst.</p><p>"The Gospels have been written into pop-style musicals several times. In some cases the songs are perfect for the moments they describe and some songs are real misses," said Chris Blisset, music director for the Playhouse Downtown production. "I'm shocked by the number of times these songs are perfect for what they are trying to accomplish. I'm a pretty critical listener and surprised how often I agree with the choices they made, it's a high statistic."</p><p>When Blisset, who plays several roles in the program and plays several instruments, became associated with the story, he downloaded the songs and spent hours walking the streets of New York City listening. It didn't take long for the songs to become memorable.</p><p>"I noticed right away how toe-tapping and catchy the music was," he said. </p><p>"I could remember choruses for the songs after first listen. That told me that when they were looking for someone to write this music, they got the right guy.</p><p>"You can write a good lyric and good melody, but that doesn't make it catchy. These are the kinds of songs you will whistle without knowing it."</p><p>The show won't just be a hit with bluegrass fans, Blisset said. The songs move from pop-folk to bluegrass to more standard musical theater fare.</p><p>"I think anyone who has enjoyed popular music in the last 50 years is likely to find something they like in this music," Blisset said.</p>